ONE POINT MUSIC

Hoax.

A Finnish sound creator Pekka AIRAKSINEN is renowned as a founder of SPERM, one of electronic pioneer combos in Finland. It's said his first album "One Point Music" be in the same vein of SPERM's creation "Shh!" ... Although I've listened to "Hein'sirkat!" only via "Shh!", this explanation makes sense really.

Anyway ... this album has somewhat chilling appearance. Not simply a collection of weird noises or sounds but well-balanced, matured (so-called) noise commune harmonized with foggy percussive electronics. Almost immersed in such a tendency toward hypnotic streams and fourth-dimensional waves. The boundary amongst hedonism, violence, and tragedy launched as percussive noises can be called electronic solitaire titled "A Little Soup For Piano And Orchestra Op 46, 8". A tidy one nevertheless, let me say. The following track "mo-On-ing" is more eccentric, as if we pray in a temple, exposed with mystic spells and Buddhic percussion. His (or a session drummer's) percussion is much effective for us to kick ourselves into Heaven. High-tone organ and flute plays are too keen for listeners to get something comfortable, whilst sticky waves as in the previous track are pretty persistent enough to give us head / ear-ache. This reminds me of a pray in a renowned Japanese temple on the top of a mountain ... the morning should come to us definitely. "Somerain - Sadetta" sounds somewhat beautiful and noble all around. Can hear dream or dreammare rolling up and down. Ok his electronic cembalo-ish synthesizer sounds cannot throw us a good sleep but a fantastic psychedelic nightmare. No safe, no sound, but only a surrealistic pillow (especially the last, the bulkiest explosion) around us. The magnificent suite "Music For The Play Sisyfos" ... really magnificent ... sounds incredible as a sound / noize fuzz. Intriguingly, contrary to the three noise gems upon the Side A, the basis of this suite is such a junk of sounds scattered incredibly here, there, everywhere. As though Pekka would have gathered all of his electronic material, regardless of old or new, unrefined noise hotchpotch goes ahead without any point of soundscape ... claimed as kinda electronic hoax like Mittelwinternacht '71.

Very mysterious but guess Pekka would emphasize various opinions via his brilliant sound cards, actually.

In the very early teenage Pekka started to learn classical piano & fiddle playing. His uncle introduced him classical music and for example Debussy & Messian became his favorites. After hearing Stockhausen & Cage he started to interest experimental music. From the popular music Zappa & Velvet Underground become his big influences. He got very experimental piece from the latter one, that is released in a flexi disc through Aspen-magazine and wanted to start making same kind of music himself. There was short period, when Pekka played drums in ordinary pop group, but soon he found it wasn´t his thing in music. I believe we all Pekka fans are glad about this. For his first recordings the most important influence came from the concert of Hendrix he saw in Finland. After that he started to make his music only by electric guitar, whose sound he mixed in many tape recorders. So were made the bases of the every piece in this album exluding one and that was the style also in two first Sperm art collective recordings. In those bases Pekka had added very little other elements. Although this album was released in 1972, most of this album material was recorded in 1968 to Sperm performances. Pekka released this and other his early recordings himself in his own O-label. So Pekka got DIY-attitude much earlier before the punk movement.

When Pekka accidentally started to listen one of his piece backwards, he found it more interesting. From that became the base of "Pieni Sienikonsertto ? A Little Soup For Piano & Orchestra Op.46,8" in 1970. Pekka added some guitar and also few piano sounds & one chord. I believe name was Pekka´s humor towards too seriously taken contamporary classical music. This track is one of my favorite Pekka´s composition. Next "mo-On-ing" is the most acoustic & also noisiest piece. Pekka is playing electric organ, A. Helander flute & shortly baritone sax and mysterious A Deblus is playing percussion. This piece sounds like it´s recorded totally live and it´s the newest one, recorded in 1971. I believe it has taken from the same recording sessions as Samsa Trio-album. The last one in A-side is "Sadetta ? Somerain". Pekka recorded base of this putting a microphone in the rain. On that base he recorded guitar, that he had speeded up and echoed. This and also the end of the album reminds lot Sperm track "Heinäsirkat".

The whole B-side fills the suite "Music For the Play Sisyfos", that has three parts. Pekka recorded this music for the play, that Sperm performed in 1968. During the play music came from the tape and Pekka improvised on it with guitar. First part "Skata" starts like there is storm coming. In the end it changes calmer. Storm comes back in "S Rock", but much more electric sounding. Soon it changes very hypnotic. It sounds like there is a drummachine hitting fast beat, but no, it´s just Pekka´s guitar that he had mixed with tape recorders. Last part "Fos 2" is the most electric sounding with distorting echoes. It ends very great way this magnificent album!

Although this is more a compilation of Pekka´s works of that time he hadn´t yet released, this is still electro masterpiece!! Pekka made most of this album recordings before Tangerine Dream, Popol Vuh & Kraftwerk started their experimentations with electric music! He really was a pioneer and with this album he takes you into totally other world!! Although Pekka´s music was unique and became even more of that when started to use synthesizers, this album is highly recommended to those, who like early Pink Floyd. I believe that´s the reason why these first Pekka albums are the dearest ones to me!